Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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cinema DNG metadata isn’t fully supported in premiere. it also force interprets it into rec. 709. 3:1 compression isn’t supported at all. sequence import isn’t supported as well.
premiere won’t color manage P3 unless its jpeg2000. it will interpret everything into rec. 709. you would need a monitor that supports loading LUTs or a special transform LUTs.
opengl isn’t supported in premiere so only quadro cards or blackmagic will output 10 bit. the new 1080gtx will only preview 8 bit. the older quadro cards are incompatible with cc 2015.
to run 6k full will require a new 8 core I-7 i7-6900k overlocked to 4.2GHZ with 64GB Ram, 2500MB/sec hard disk speed for multiple layers. Even 6k compressed Redcode is 244MB/sec per clip. thunderbolt sas/raid/backup etc.
resolve will require use several graphics cards with 8GB RAM.
if you don’t plan on spending at least 2-3 grand on a computer, I suggest looking at the proxy workflows. It will take much, much longer to transcode though.
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to add to this, you can do offline edits then replace master media folder when ready to export full HQ, like a manual proxy.
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if you import it back into premiere, you’ll probably find that there is no color shift. that shift is only happening inside the quicktime player. you need to use another player that supports color management. quicktime’s gamma and/or 16-235 video range colors are a bug that was never addressed.
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1. change your workspace to the color workspace preset and then restart premiere
2. delete adobe preferences
3. clear media cache
4. restart Premiere
5. go to Project Settings and change the renderer from “Open CL/cuda” to “Software only”, then change it back to “Open CL/cuda”
6. deselect “Enable accelerated Intel H.264 decoding.”
7. change your workspace to the color workspace preset and then restart premiere -
can you render out a master then apply denoiser to that?
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i watched these. they had good quality of light. there is no replacement for that. they simply contrasted the midtones, bumped with vibrance, and offset the white balance. nothing fancy. you’d be surprised what you can get with offsetting white balance towards magenta. selective color/hue angles will fix the yellow grass. From what I’ve seem with magic bullet, it tints everything all one color. From your examples, you don’t want to do that. you want separation of color.
btw, did you know that you can color grade video with photoshop? you don’t even need to learn a new tool!
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can you post an example of what you’re trying to accomplish? it sounds like you want to give color without unnatural tinting. also, davinci is used for hue on hue coloring with power windows with built in tracking so may be a better choice for professional coloring. Also, premiere’s lumetri doesn’t have hue angle control which is a huge oversight.
“saturating in post, and stuff just turns ugly yellow.” there are many way to increase color pleasingly. bumping saturation will often give unnatural color in the shadows, compared to say, selective color, or vibrance effect. technicolor, or variations of it don’t bleed color into white/blacks. Are you more interested in appling luts or making your own color from scratch?
premiere’s coloring tools are still in their infancy, and going pro, would require other tools for the job. Others may disagree.
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if you had highly compressed 4k, then the slightly less compressed proxy might be a little bigger. the main difference is the ability to scrub and play the timeline smoother. Another option, depending on the codec, if you used smart rendering it would greatly decrease rendering time.
https://helpx.adobe.com/premiere-pro/using/smart-rendering.html
https://blogs.adobe.com/kevinmonahan/2012/10/11/smart-rendering-in-premiere-pro-cs6-6-0-1-and-later/